Page 41 - Weiss, Jernej, ur./ed. 2024. Glasbena kritika – nekoč in danes ▪︎ Music Criticism – Yesterday and Today. Koper/Ljubljana: Založba Univerze na Primorskem in Festival Ljubljana. Studia musicologica Labacensia, 7
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innovation, art, society, and life: deliber ations on music cr iticism’s past, pr esence ...
Mr. R. was indeed on an island, but if not without a grand piano, cer-
tainly without Sebastian Bach. Not even historically does he seem to
have been aware of the tremendous progress that was made in com-
position for this instrument after Mozart and Beethoven had given pi-
anoforte playing a completely new, high, powerful impetus; otherwise,
he would not have composed the present sonata, or at least not have
brought it to a large audience. Without Seb. Bach, Mr. R. was on the
island, because otherwise he would have known how to give his work
some interest, at least with regard to the harmonic structure.12
Finally, before explaining his views in detail on the basis of the score,
Hoffmann stresses his obligation to charge severely according to his in-
sights and the truth. In addition, he explains his goal to indicate to the com-
poser which paths he should follow in the future, namely singing “some jo-
vial and glorious lied.”
In conclusion, as the critic’s view is concerned, we can say that Hoff-
mann judges the pieces he writes about in detail and with respect to their
overall effect. He speaks at the same time as both an artist and a specialist,
and as a part of the public, as a listener. His main concern is the effect of
music, which should have an impact on the audience and thus change the
listener’s daily life through establishing a pathway to the land of fantasy.13
Claude Debussy
If we compare now briefly Hoffmann’s critiques with the critical writings of
Claude Debussy entitled Monsieur Croche, we will notice a totally different
attitude: Whereas Hofmann is writing emphatically from the standpoint
of a critic, Debussy gives the impression that he does not want to consider
himself a professional critic at all. Rather he is skeptical about criticism it-
12 “Herr R. befand sich in der Tat auf einer Insel, aber wenn auch nicht ohne Flügel, doch
gewiß ohne Sebastian Bach. Nicht einmal historisch scheinen ihm nämlich die unge-
heuren Fortschritte bekannt geworden zu sein, die, nachdem Mozart und Beethoven
dem Pianofortespiel überhaupt einen ganz neuen, hohen, mächtigen Schwung gege-
ben hatten, in der Komposition für dies Instrument gemacht wurden; denn sonst wür-
de er die vorliegende Sonate nicht komponiert, wenigstens nicht ins große Publikum
gebracht haben. Ohne Seb. Bach befand sich aber Herr R. deshalb auf der Insel, weil er
sonst doch wenigstens rücksichtlich des harmonischen Gefüges seinem Werke einiges
Interesse zu geben gewusst hätte.” Ibid., 335–6.
13 For a more detailed view on Reichardt’s aesthetics and Hoffmann’s critique see: Ste-
fan Keym, “Musik von einer einsamen Insel? Reichardts Grande Sonate f-Moll und
die Kritik von E. T. A. Hoffmann,” in Johann Friedrich Reichardt (1752–1814). Zwi-
schen Anpassung und Provokation, ed. Manfred Beetz et al. (Halle/Saale: s. n., 2003),
145–62.
41
Mr. R. was indeed on an island, but if not without a grand piano, cer-
tainly without Sebastian Bach. Not even historically does he seem to
have been aware of the tremendous progress that was made in com-
position for this instrument after Mozart and Beethoven had given pi-
anoforte playing a completely new, high, powerful impetus; otherwise,
he would not have composed the present sonata, or at least not have
brought it to a large audience. Without Seb. Bach, Mr. R. was on the
island, because otherwise he would have known how to give his work
some interest, at least with regard to the harmonic structure.12
Finally, before explaining his views in detail on the basis of the score,
Hoffmann stresses his obligation to charge severely according to his in-
sights and the truth. In addition, he explains his goal to indicate to the com-
poser which paths he should follow in the future, namely singing “some jo-
vial and glorious lied.”
In conclusion, as the critic’s view is concerned, we can say that Hoff-
mann judges the pieces he writes about in detail and with respect to their
overall effect. He speaks at the same time as both an artist and a specialist,
and as a part of the public, as a listener. His main concern is the effect of
music, which should have an impact on the audience and thus change the
listener’s daily life through establishing a pathway to the land of fantasy.13
Claude Debussy
If we compare now briefly Hoffmann’s critiques with the critical writings of
Claude Debussy entitled Monsieur Croche, we will notice a totally different
attitude: Whereas Hofmann is writing emphatically from the standpoint
of a critic, Debussy gives the impression that he does not want to consider
himself a professional critic at all. Rather he is skeptical about criticism it-
12 “Herr R. befand sich in der Tat auf einer Insel, aber wenn auch nicht ohne Flügel, doch
gewiß ohne Sebastian Bach. Nicht einmal historisch scheinen ihm nämlich die unge-
heuren Fortschritte bekannt geworden zu sein, die, nachdem Mozart und Beethoven
dem Pianofortespiel überhaupt einen ganz neuen, hohen, mächtigen Schwung gege-
ben hatten, in der Komposition für dies Instrument gemacht wurden; denn sonst wür-
de er die vorliegende Sonate nicht komponiert, wenigstens nicht ins große Publikum
gebracht haben. Ohne Seb. Bach befand sich aber Herr R. deshalb auf der Insel, weil er
sonst doch wenigstens rücksichtlich des harmonischen Gefüges seinem Werke einiges
Interesse zu geben gewusst hätte.” Ibid., 335–6.
13 For a more detailed view on Reichardt’s aesthetics and Hoffmann’s critique see: Ste-
fan Keym, “Musik von einer einsamen Insel? Reichardts Grande Sonate f-Moll und
die Kritik von E. T. A. Hoffmann,” in Johann Friedrich Reichardt (1752–1814). Zwi-
schen Anpassung und Provokation, ed. Manfred Beetz et al. (Halle/Saale: s. n., 2003),
145–62.
41
